Untitled 64, ink and pasted paper on Akatosashi paper, 14 x 10 in.
As is my wont, seeing an art exhibition has inspired new ideas for my work, in this case the marvelous show at MoMA, Henri Matisse: The Cut-Outs. I began by painting some paper shapes, using my Japanese printmaking papers; then I glued them to sheets of paper, taking some time to figure out a placement that would have some energy. Once the papers were dry, I added ink using potato stamps, as with my previous potato prints. In the print above, the yellow-orange rectangle is pasted paper, and the thick red line is printed. Because I used thin Japanese papers, there is a lot of wrinkling and shrinking from the pasting process.
Untitled 65, ink and pasted paper on Twinrocker paper, 7 x 15 1/4 in.
Untitled 66, ink and pasted paper on Twinrocker paper, 14 x 10 3/4 in.
When I used a heavy weight handmade paper, such as the Twinrocker above, there was no wrinkling. But it's odd, I prefer using the more delicate papers for this work; there's something about the vulnerability of the thin paper that is very attractive to me.
Untitled 67, ink and pasted paper on Akatosashi paper, 7 1/2 x 13 in.
In Untitled 67 I tore a triangle from a piece of Gifu Green Tea Light paper, which is a spotted white. I balanced it with a printed white square.
Untitled 68, ink and pasted paper on Gampi Smooth paper; 2 panels, each 15 x 12 in.
The pale green rectangles of Gifu Green Tea Medium paper are close in value to the warm-colored ground paper, Gampi Smooth. Because they are both quite thin and a lot of glue (I used wheat paste) was needed for the large pieces of pasted paper, the work is quite wrinkled. I can't decide if it's a distraction or an integral aspect of the process, but I didn't dislike it enough to discard it.
Untitled 68 detail
I added lines of a pale white slightly tinted with green to unify the composition.
Untitled 69, ink and pasted paper on Nishinouchi paper, 10 1/2 x 20 in.
A long red rectangle of pasted paper holds up some fading circles rolling on a blue horizontal. This paper, Nishinouchi, is a heavier handmade paper, so wrinkling is less evident. I am considering using my heavier Japanese papers for my collage/potato print hybrids. Feedback is welcome; you can see the images better if you click to enlarge them.
Untitled 70, ink on Gampi Smooth paper, 15 x 25 in.
Finally, a print that has no pasted paper on it. I stamped the four shapes, then stopped to think: I had planned to add something in the center, but as I looked at the print, it seemed less and less necessary to me. I'm still not sure that the print has any value, but I'm glad I left the center empty.